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'SNL' sees Nate Bargatze return as host, along with another debate cold open

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'SNL' sees Nate Bargatze return as host, along with another debate cold open

It’s been less than a year since comedian Nate Bargatze made his debut hosting “Saturday Night Live,” but the appearance was so well received that he’s back already, alongside a stacked lineup of Season 50 hosts that include Jean Smart, John Mulaney and Michael Keaton.

Was it as strong a showing as last time? Not exactly. The monologue was more scattershot and less finely crafted than last year’s and the sketches were less uniformly great, but there was still some strong material. Bargatze’s every-guy vibe still fits “SNL” nicely, particularly in sketches where he’s playing with language, such as a sequel to 2023’s fantastic George Washington weights and measurements scene or a pitch perfect “Sábado Gigante” parody (it only took 50 years) in which Bargatze plays a befuddled audience member pulled into the show with only a rudimentary — but not completely blank — understanding of the Spanish being spoken around him. Bargatze led a funny pre-taped sketch in which a golf tournament competitor keeps inadvertently harming wildlife on the course.

Elsewhere, Bargatze played an EMT who, with his partner (Michael Longfellow), is trying to convince water park workers to let a dead body go down a slide rather than carry it down 255 steps. He portrayed a coach who wants to be paid for football jerseys and the husband of a woman (Heidi Gardner) determined to win a very messy eating challenge at a restaurant. Musical guests Coldplay performed “All My Love” and “We Pray,” the latter featuring Palestinian singer Elyanna and Argentine singer Tini. A title card before the closing hugs honored Kris Kristofferson, who died Sept. 28 at 88. The singer-songwriter and actor hosted “SNL” in 1976 during the show’s first season.

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As with Bargatze as host, this week’s cold open was a case of: “It worked great, let’s do it again.” All the guest stars who appeared in last week’s cold open were back for the “SNL” take on the vice presidential debate. Bowen Yang and Jim Gaffigan returned as Sen. J.D. Vance and Gov. Tim Walz, respectively, on the debate stage, while Vice President Kamala Harris (Maya Rudolph) and husband Doug Emhoff (Andy Samberg) watched at home and were visited by a mostly confused President Biden (Dana Carvey).

Kamala, on top of the world, celebrated endorsements from Liz Cheney and Bruce Springsteen, but her joy was short-lived as she watched Walz flub lines — “I’m friends with school shooters” — and got too friendly with Vance. “Why are they friends?” she cried. “Why are they vibing?” On the debate stage, Vance and Walz get so familiar that they try to touch hands across the split scene while “Take My Breath Away” plays. Walz explained his mistake about saying he was in Hong Kong during the Tiananmen Square massacre by telling viewers he forgot he was at Epcot. Vance, meanwhile, inserted mid-sentence pleas to not be fact checked while expressing support for former President Trump.

But like last week, it was Dana Carvey’s Biden impression that stole the show, whether he was announcing things that are down, like gas prices and Emmys for “The Bear,” or waving an ice cream cone that landed ice cream on Kamala’s face. As Rudolph maintained her composure even as ice cream dripped down her chin, it was hard to forget that Carvey and David Spade, the co-host of “Fly on the Wall” podcast, said this week that sometimes physical ad libs or flubs on the show are really accidental-on-purpose, as was the case with Biden burying his head in Kamala’s hair on last week’s show.

Bargatze’s monologue was shorter than last time around and without a strong close, but it still had great lines as the comedian discussed going to community college (“… where they’re like, ‘You’re probably staying in your community.’”) and, at length, his addiction to processed foods (“I’m a farm-factory-table guy.”) and ordering junk food from DoorDash late at night. Bargatze said he’s even double-dashed, ordering from two places simultaneously on the food-delivery service, which causes him anxiety when two different drivers show up at the same time. “I need one of them to get in a wreck! I’m mortified!” he said. There were also funny bits about the “extra” in extra virgin olive oil and what happened when he ate a raspberry for the first time at the age of 40. Unlike last year’s monologue, this one wasn’t as razor sharp, but the material overall had the comic’s signature specificity and bafflement at the world.

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Best sketch of the night: Washington returns to claim freedom for hot-dog lovers

Diminishing returns are sometimes fine if the original was this strong. In a sequel to the weights and measure sketch, George Washington (Bargatze) stands on a boat, telling his soldiers about the future of the English language. A dozen is a word for 12, but, “Only 12 shall have its own word.” We’ll spell Jeff two ways, one with a J and, “The stupid way with the G.” A hot dog, Washington says, will not be made of dogs. But when asked what they’re made of, he says, “Nobody knows.” When a soldier questions that, he’s invited to leave the boat, right into the water. Like last time, Washington largely ignores questions from a soldier (Kenan Thompson) over what will happen to slaves after the war, at least this war in 1776.

Also good: You don’t have to know Spanish to understand ‘Sábado Gigante’

Bargatze plays an audience member called on stage by host Don Francisco (Marcello Hernández), who leads him through a random set of sketches, dance numbers and game-show segments, which is not at all different from what the real show was like; ask anybody who grew up in a Spanish-speaking household before 2015. For Hernández’s absolute commitment to the sketch, Bargatze’s so-real-it-stings confusion, the kid in the beard dressed like Bargatze’s character, and the puppet orange in a sailor suit, this one wins our hearts as much as winning five dogs on a game show might.

Will probably go viral: ‘Sushi Glory Hole’ is the new ‘Dick in a Box’

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Slotted as it was so late in the show, a new “SNL” digital short featuring Lonely Island’s Samberg and Akiva Schaffer was so surprising, catchy and pushing the line of good taste that it feels like something that could take off in a big way online. (The term “Sushi Glory Hole,” in fact, was already trending on X shortly after the episode aired.) The premise? Two musicians (or are they businessmen?) pitch the idea of a hole in a bathroom wall that feeds you fresh sushi. That’s it. That’s the joke. But it’s taken to hilariously dumb lengths even as those being pitched (Maya Rudolph among them) are just trying to leave the room.

‘Weekend Update’ winner: Jane Wickline stayed at the party too long

It sometimes takes a while to get to know new cast members, but this segment was a nice introduction. Jane Wickline appeared in the water slide sketch as the only voice of reason and in a “Weekend Update” segment, playing piano and singing about staying overnight at a party that has long since stopped being a party. When Colin Jost tries to wrap up the song midway through, she says, “I intend to keep singing.” Clever, playful lyrics and a strong performance suggest great things to come on “SNL” for Jane Wickline.

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Buffalo Kids

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Buffalo Kids

Buffalo Kids follows siblings Tom and Mary—and their friend Nick, who has cerebral palsy—as they travel West in search of a family. The film is a sweet, animated story that emphasizes the importance of friendship, family and the need to look past physical differences. Content stumbles include some Native American spirituality and toilet humor.

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Review: From Iceland, ‘The Love That Remains’ shows a fractured family tied to the landscape

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Review: From Iceland, ‘The Love That Remains’ shows a fractured family tied to the landscape

The gorgeous, quirky and melancholy “The Love That Remains,” from Icelandic filmmaker Hylnur Pálmason (“Godland”), opens with an exhilarating shot from inside a long, empty seaside building, from where we can see the roof suddenly wrenched off by some exterior force. As it hovers in the air above, we get to consider the two parts of this one-time whole and how the light changes inside this deconstructed space.

In one respect, that’s the whole of the movie encapsulated, as we encounter a family of five living in the wake of a separation. Visual artist Anna (Saga Garðarsdóttir) looks to assert herself while still living in the rural home she shared with her teenage sweetheart. The increasing alienation leaves fisherman Magnús (Sverrir Guðnason) living offshore on a big trawler as his hold on domestic security slips. Their kids, meanwhile — teenage Ída and twin boys Grímur and Þorgils (the trio played by director Pálmason’s own children) — exhibit a healthy absorption of the circumstances, meeting moments of togetherness with plenty of humor and spirit.

What we glean of the past comes from the fragmented present, as if we’re leafing through a stranger’s exquisitely curated album (there’s only Harry Hunt’s piano score for sad commentary). Elsewhere we see that home-cooked meals, chores and foraging excursions occasionally bring this fractured family back together. But when Magnus pushes to stay for a while, Anna firmly claims her independence.

While apart, their working lives — his at sea, hers on land — speak to a confluence of the elemental and the man-made. Pálmason, who serves as his own cinematographer (and a great one with the 4:3 framing), revels in the sweep and heft of deep-sea fishing, a seasonal trade that gives purpose to Magnus’ days and nights but also fosters an increasingly unwanted solitude. Anna, meanwhile, devotes herself to earth art, turning machine-lasered iron cutouts laid on white sheets in the open air into large-scale, rust-patterned pieces. Getting her work appreciated, however, is another matter. In one painfully funny sequence, a visiting gallerist (and gasbag) barely seems to care about her art, showing more interest in a goose’s nest that has materialized in an enclosure.

Is love another natural element susceptible to age and wear? Across a running time tied to the shifting seasons, pocked by images of breathtaking beauty, Pálmason is after a feeling that only patient observance yields: a lasting reality about the passing of relationships. One of the director’s frequent visual cutaways is to a knight-outfitted dummy the children build on a picturesque spot, lashed to a stake. It’s an indelibly amusing and heartbreaking totem, suggesting play and suffering, and eventually manifesting wounds both real and internalized. (The director’s 2022 short “Nest,” which captures the building of a tree house over a year, is a precursor to his temporal approach to this feature.)

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On the heels of Pálmason’s masterful “Godland,” a 19th century colonizer epic of faith and conquest that couldn’t be more different, “The Love That Remains” nevertheless positions this filmmaker as a gifted craftsman of adult storybooks, no matter the era or scope. This is a delicate, confidently imagined fiction made with the eyes of a naturalist, the heart of a believer in family, and a sensibility with room for both the Pythonesque and the Lynchian.

‘The Love That Remains’

In Icelandic and English, with subtitles

Not rated

Running time: 1 hour, 49 minutes

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Playing: Opens Friday, Feb. 6 at Laemmle Royal and Laemmle Glendale

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With Love Movie Review: A romcom with likeable leads and plenty of charm

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With Love Movie Review: A romcom with likeable leads and plenty of charm

With Love Movie Synopsis: Sathya meets his school junior, Monisha, in a matchmaking setup. They like each other but Monisha suggests an idea that leads both of them to revisit their school days and old crushes.With Love Movie Review: Debutant Madhan’s With Love is the latest addition to the wave of feel-good films that Tamil cinema has been churning out lately. Though the premise isn’t particularly new, the film attempts to find freshness through its characters and their interactions with each other.Sathya’s (Abishan Jeevinth) sister, who has been pushing for him to get married, sets up a matchmaking meetup between him and Monisha (Anaswara Rajan). Monisha turns out to be his junior in school and the two hit it off instantly. However, Monisha comes up with an idea. She suggests that they try to get in touch and express their untold feelings to their school crushes they aren’t in contact with anymore.It does take a while for the film to find its footing. Initially, it’s difficult not to draw parallels between With Love and other recent Tamil romcoms. The initial interactions between the lead characters also lack a natural ease. However, once the film starts exploring the characters’ flashbacks, With Love becomes more assured and finds its flow.The film relies heavily on the relatability factor. As in all romcoms, the makers have attempted to slice together situations that the audience can resonate with. But this approach doesn’t always work. For instance, a character in the film states that she always knew another character was in love with her because, as a woman, she can sense it. The placement of such broad statements feels engineered for effect rather than organic. It also does not provide further context into the characters’ feelings. With Love works far better when the interactions and one-liner jokes are character-specific rather than when it resorts to being overly generalised.With Love doesn’t reinvent the genre. It follows a conventional pattern but finds the charm in its likeable lead performances, Sean Roldan’s vibrant music and a lovely supporting cast. Abishan, in his debut as a lead, does justice to the boy-next-door role. His unassuming presence helps soften the character of Sathya, who could have come across as off-putting if played by another actor. Anaswara is wonderful. She performs both the emotional and serious moments with a natural ease and without any exaggeration.

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